Thanks so much for all your help. This is my last counterpoint question. I am doing a counterpoint for alto sax and piano. I had the piano line in bass clef. But I think the ranges were weird and incorrect. So, I transposed the bass notes to treble. Now I am second guessing myself and wondering if the voices are crossing.

However, for much of the counterpoint, the voices are very far apart. Typically, unless one line is the bassline, you want the parts to be within an octave of each other. An octave and a 3rd is pushing it. And an octave and a half is about the limit. There are many places you have an octave plus a 6th or more. That's going to make it sound thin.

You may or may not know this, but Finale lets you view the parts in concert pitch (Document > Display in Concert Pitch). Then you won't need to mentally transpose anything.

Yeah, there's nothing wrong with parallel thirds at all. However, it's best to not have as many. 6 parallel thirds in about 8 bars is a bit much.

When writing in 5th species counterpoint (which this is), you have to look at the voice leading right before the barline, from measure to measure, and often from beat 3 to beat 1.

Though keep up the practice and good work, djdillyc! Counterpoint is very good to learn, and the only way to learn is practice. As a composer myself, I've done hundreds of counterpoint exercises to really make it intuitive. (hundreds may be extreme for most people, but I typically do things to the extreme).